{"title":"朱利安·施纳贝尔:揭开神话","authors":"J. Sans, Susan de Muth","doi":"10.1080/17561310.2020.1876831","DOIUrl":null,"url":null,"abstract":"Abstract A major exhibition of Julian Schnabel’s work was staged in the early months of 1987 at the National Museum of Modern Art in the Centre Pompidou in Paris, featured forty paintings and three sculptures. This review by Jérôme Sans gives a brief overview of Schnabel’s life and career, his discovery of both the European old masters—Cimabue, El Greco, Caravaggio—and new masters like Sigmar Polke, Joseph Beuys. Sans finds in Schnabel’s painting an affirmation that 1970s Minimalism had run its course.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"397 - 401"},"PeriodicalIF":0.0000,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1876831","citationCount":"0","resultStr":"{\"title\":\"Julian Schnabel: The Myth Unfurls\",\"authors\":\"J. Sans, Susan de Muth\",\"doi\":\"10.1080/17561310.2020.1876831\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract A major exhibition of Julian Schnabel’s work was staged in the early months of 1987 at the National Museum of Modern Art in the Centre Pompidou in Paris, featured forty paintings and three sculptures. This review by Jérôme Sans gives a brief overview of Schnabel’s life and career, his discovery of both the European old masters—Cimabue, El Greco, Caravaggio—and new masters like Sigmar Polke, Joseph Beuys. Sans finds in Schnabel’s painting an affirmation that 1970s Minimalism had run its course.\",\"PeriodicalId\":53629,\"journal\":{\"name\":\"Art in Translation\",\"volume\":\"12 1\",\"pages\":\"397 - 401\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-07-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/17561310.2020.1876831\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Art in Translation\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17561310.2020.1876831\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Art in Translation","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17561310.2020.1876831","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"Arts and Humanities","Score":null,"Total":0}
Abstract A major exhibition of Julian Schnabel’s work was staged in the early months of 1987 at the National Museum of Modern Art in the Centre Pompidou in Paris, featured forty paintings and three sculptures. This review by Jérôme Sans gives a brief overview of Schnabel’s life and career, his discovery of both the European old masters—Cimabue, El Greco, Caravaggio—and new masters like Sigmar Polke, Joseph Beuys. Sans finds in Schnabel’s painting an affirmation that 1970s Minimalism had run its course.
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